Summary: The first scene of Guillermo Calderón’s “Kiss” seems to unfold sans complication, its scenario as recognizable as that of middle-period Woody Allen. A testy pas de deux, fueled by hate that’s the flip side of passion, multiplies into a love triangle, then a love quadrangle among a close-knit group of friends in Damascus, Syria. Each line seems to bring a fresh betrayal to one-up the one that came an instant before.
